{"id":29680,"date":"2026-09-19T15:39:01","date_gmt":"2026-09-19T14:39:01","guid":{"rendered":"https:\/\/www.agneselect.com\/anna-renzi-brivio\/"},"modified":"2026-09-19T23:35:54","modified_gmt":"2026-09-19T22:35:54","slug":"anna-renzi-brivio","status":"publish","type":"post","link":"https:\/\/www.agneselect.com\/en\/craftsmanship\/anna-renzi-brivio\/","title":{"rendered":"Making in a Sacred Space"},"content":{"rendered":"\t\t
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Editor's Note:<\/h2>\n\t\t\t\t
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What does it mean to leave the security of a top fashion house for a form of creative freedom that offers no certainty? In this first-person essay, Italian dressmaker Anna Renzi Brivio reflects on that question. After several years at Dolce&Gabbana, four of them in the Alta Moda department, she returned to her hometown of Brescia and, in 2025, established her own Sartoria inside a seventeenth-century former church. Rather than telling the story as one of triumph, she records the fear and insomnia of leaving, the daily realities of running a workshop, and why she insists on putting time, hands and the person who will wear the garment back at the centre of making.<\/p>\n\t\t\n<\/div>\n

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Words: Anna Renzi Brivio \u00b7 Brescia, Italy
Edit: Agnes Select<\/p>\n\t\t\n<\/div>\n

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Leaving Alta Moda was terrible. I think it was the most difficult decision of my life because I was leaving the life I had always wanted. I worked for a major fashion house, I lived in Milan, and I had my own home and independence. I had achieved what I had worked towards for years, and I was happy. There was nothing I needed to escape from; I had to separate myself from something I loved.<\/p>\n\t\t\n<\/div>\n

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There was no particular garment, conflict or frustration that made me decide. I worked with very stimulating people and the environment influenced me positively. It gave me knowledge, discipline and confidence. The need to leave came from me, not from what surrounded me.<\/p>\n\t\t\n<\/div>\n

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It was a gradual process that became more evident during my final year, when I began suffering from insomnia. I would leave work and often feel that my mind was empty. For someone else, that lightness might have been a privilege. But I need to think, to have problems to solve and something that helps me grow; I need a destination I have not yet reached. During the pandemic, I began working on a few personal projects. Until then, I had never looked for another path. I was exactly where I had always wanted to be. Working on something of my own, however, allowed me to experience a creative freedom that I could no longer ignore. I wanted to follow an idea from beginning to end and be responsible for every decision.<\/p>\n\t\t\n<\/div>\n

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I was very afraid. The company had become a family to me, and leaving also meant giving up the personal independence I had achieved. I left my home, my routines and the security of the life I had built to pursue a form of creative freedom that offered no certainty. I do not think of myself as someone without fear. I tried not to stop and think for too long because, if I had, I probably would never have left.<\/p>\n\t\t\n<\/div>\n

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Making in a Sacred Space<\/h2>\n\t\t\n<\/div>\n
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Brescia, however, was not the city I had imagined returning to. I did not want to come back, and I am not ashamed to say so. My life was in Milan. I still miss Milan and I hope that one day I may live there again while keeping the Sartoria in Brescia. Returning to Brescia was also a practical decision. It allowed me to rely on my family and concentrate my resources on the work. I had no one depending on me and I was in a position to begin again. I know that having this possibility is not something to take for granted.

Finding the right space was difficult. A small shop is not enough for this kind of work. I needed rooms large enough for worktables and patterns, but also somewhere a client could feel properly welcomed. It had to be a workshop, a place for fittings and somewhere I wanted to spend my days. I had almost lost hope of finding a space that could hold all of these things. Then I entered the church. The feeling was immediate and much stronger than any rational thought. I did not simply think that it was beautiful or suitable; I felt that it belonged to me and, at the same moment, that I belonged to it. I like to say that my church and I fell in love, because that is what happened. We found each other.<\/p>\n\t\t\n<\/div>\n

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To enter my Sartoria, you still knock with the old door knocker. Behind it lies the nave of the former church of Santa Francesca Romana, in the Carmine district of Brescia. Today, it holds worktables, dress forms, fabrics and garments waiting for their next fitting. I work within its proportions every day, beneath the frescoes that remain. I do not want to turn the church into something artificially mystical for the sake of the story. It is also an inconvenient building, created in the seventeenth century for an entirely different purpose. There are steps, enormous spaces to heat and many practical difficulties. Yet I can no longer imagine my work taking place anywhere else. The garments I make are affected by how I feel while I am thinking about them. Beauty is what I live on, and this place inevitably enters what I create.

In the morning, I burn incense. When the light enters through the windows and the smoke hangs in the nave, everything is silent for a few moments. I already know how much I will have to face that day, but there I feel a peace I had never experienced in a workplace before. One day Chiara, who works with me in the Sartoria, looked across the nave and said, \"I hope I never get used to all this.\" She had found exactly the right words. I am not used to it yet, and I hope I never will be. In the evening, after turning off the lights, I look back at the church before leaving and thank her. I mean the church herself.<\/p>\n\t\t\n<\/div>\n

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Beginning with the Person<\/h2>\n\t\t\n<\/div>\n
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My clients come to me mainly through word of mouth. They are women who recognise my taste and want to entrust themselves to a personal process. My experience in Alta Moda gives solidity to my work, but I do not believe they come to me simply because of the name of the fashion house where I worked. They come because they trust what I may be able to create for them. That trust is necessary because I am not selling something that already exists. A client does not walk in, select a finished dress and take it home. She commits to a result that she will only be able to see fully at the end. Inside a large organisation, the relationship with the person who would eventually wear the garment was inevitably more mediated. Here, I know the person for whom I am working. My relationship with her enters the process and changes it.

I need to understand her, but I also need to know how to guide her. I have a decisive character, and that matters in my work. Empathy does not mean agreeing with every request; it means listening to someone and understanding what can genuinely belong to her. Every garment begins with the person, never with a completed drawing. I observe how she moves, how she inhabits her body, what she wants to feel and what she would never choose. Then I draw, develop the pattern, make the toile and work through the fittings. A drawing can conceal an unresolved line; the body cannot. The most elegant thing a person can wear is the feeling of being at ease. I do not need to invent a new identity for the woman in front of me. I need to recognise her own and turn it into something that suits her.<\/p>\n\t\t\n<\/div>\n

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Alongside tailoring, I work with embroidery, crochet and bobbin lace. I like fashion, but I am even more interested in the process that leads to the creation of something beautiful. I love hands and their creative power. The visual result alone is not enough for me; I want to know how something was made, how much time it required and what knowledge it contains. Traditional techniques appeal to my taste, but their value is not merely nostalgic. Reviving something in danger of being forgotten is one way of stepping outside our constant need for the new. We can recover this knowledge and use it with different intentions without simply reproducing the past.

Some decisions cannot be accelerated without changing the result. The material must be touched, the toile must be tried on, the embroidery must be begun, undone and begun again. The time required is real, and it has a cost. It is not a story added afterwards to make a garment appear more precious. It is already inside the garment, even when it cannot be seen. This makes bespoke clothing a luxury, and I am aware that not everyone can afford it. I am personally much closer to those who could not regularly buy made-to-measure clothes than to those who can. I do not believe, however, that fast production is the only alternative. There is vintage, second-hand clothing and there are archive pieces. These are worlds I love and have always explored myself. I do not want to pretend that money is irrelevant. If someone is able to invest in a garment made in this way, I believe it is right to recognise the economic value of the time and knowledge it contains.

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Keeping the Sartoria Going<\/h2>\n\t\t\n<\/div>\n
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The doubt that the Sartoria may not succeed is present every day. It is a concrete doubt, above all an economic one. Other people see the church, the garments and the photographs. Beneath that surface are costs, failed attempts, wrong decisions and moments when I do not know whether I will be able to sustain everything. I do not have the same uncertainty about the meaning of the project. I have managed to build something I believe in without distorting myself. Now I must continually find a balance between what I want to create and what allows the business to survive.


In five years, I would like people from other countries to choose to come to Brescia and entrust me with a garment. I would like the business to become more solid, but I do not want to turn it into a brand built on large numbers. Large numbers are difficult to reconcile with a process founded on time and personal relationships. I want to be a dressmaker as much as I want to be an entrepreneur. To me, being an entrepreneur means making the dressmaker's work possible, protecting it and allowing it to endure. I want this to remain a Sartoria, even if it becomes better known and more structured. I am content to work for a small number of people if I can continue to know them and take full responsibility for what I make for them. I would like to reach the world, but I would still like to remain very small. I do not yet know how difficult it will be to hold those two things together, but I know that this is the direction I want to take.


My life is not easier now. I am much more tired than I was before. When you carry a project almost entirely by yourself, your personal life tends to disappear. Chiara helps me with the sewing and the practical progress of the garments, but the overall responsibility remains mine. I have had to learn how to do many things that have nothing to do with my actual craft. No one can really explain how difficult it is to keep everything standing. Yet if I could go back, I would make the same decision. Otherwise, I would never have discovered what I might be capable of building. Today, I sleep. Not because I have fewer thoughts. I have many more, but they are mine.<\/p>\n\t\t\n<\/div>\n

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Author Bio<\/h2>\n\t\t\n<\/div>\n
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Anna Renzi Brivio is an Italian fashion designer and bespoke dressmaker, born in Brescia in 1994. Her interest in textiles and garment construction began early: at sixteen she attended a pattern-cutting course at Central Saint Martins in London, the start of an education that went on to include tailoring, moulage and embroidery in Rome, fashion drawing at Istituto Moda Burgo in Milan, the study of literature, and theatre design and historical costume decoration at the Politecnico di Milano.

In 2017, she joined Dolce&Gabbana, working first in ready-to-wear and then spending four years in the Alta Moda department. In 2023, she began developing her independent projects and started teaching women's Alta Sartoria to fashion design and pattern-making students at ITS Machina Lonati.

In 2025, she founded Sartoria ANNA RENZI BRIVIO in her native Brescia. Housed in the seventeenth-century former church of Santa Francesca Romana, the Sartoria makes bespoke garments through a single continuous process of design, pattern cutting, fitting and hand construction. Her work combines sartorial precision with material experimentation and traditional techniques including embroidery, crochet and bobbin lace.<\/p>\n\t\t\n<\/div>\n\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Italian designer Anna Renzi Brivio reflects on leaving D&G Alta Moda to build an independent sartoria inside a former church in Brescia\u2014on fear, creative freedom, craftsmanship, and the desire to grow without losing intimacy.<\/p>\n","protected":false},"author":1,"featured_media":29647,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"pmpro_default_level":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[66],"tags":[],"issue":[869],"ag_free":[],"class_list":["post-29680","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftsmanship","issue-issue-01","pmpro-has-access"],"acf":[],"yoast_head":"\nMaking in 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